The Debut — NYFF Review
Source: A24
With The Debut, Jesse Eisenberg proves he’s a filmmaker who is only growing sharper, funnier, and more confident with each project. His third feature film might just be his best one yet, a delightful, wildly hilarious, and irresistibly charming musical comedy bolstered by phenomenal performances from Julianne Moore and Paul Giamatti. It almost feels like a cross between a Woody Allen movie, with its neurotic characters and awkward humor, and Darren Aronofsky’s Black Swan (2010), thanks to its darker examination of artistic obsession. I know that probably sounds preposterous, but somehow it works, and this is coming from someone who is not a Woody Allen fan. Perhaps its dark yet offbeat sense of humor is closer to something from the Coen brothers. Either way, the film feels unique despite the variety of films that may have influenced it. At its core, The Debut is a quirky character study about the desire to be seen and how artistic passion can spiral into self-destructive obsession.
Source: A24
At the center of the film is Mona (Julianne Moore), a suburban New Jersey housewife who feels invisible. Her husband is emotionally distant, her teenage children barely acknowledge her, and every part of her daily routine reinforces the feeling that no one actually sees her. On a whim, she decides to audition for a local musical called Nosy Neighbors, directed by the demanding Jerry (Paul Giamatti). Despite being a truly terrible singer and completely unqualified, Mona inadvertently lands the role of Ms. Danielle after another actress drops out because she just so happens to be the only other person who auditioned for the part.
Nosy Neighbors has a cast and crew that’s full of eccentric personalities. Part of what makes the film work is how fiercely committed the actors are, even those in supporting roles. Halle Bailey delivers a strong performance as Stef, the musical’s charismatic star. Havana Rose Liu is lovely as Twisty, the production’s affable costume designer. They are incredibly warm and supportive of Mona, making rehearsals feel much more welcoming than anything or anyone in her home life. However, Jerry turns out to be a tough director to satisfy, and his approach rapidly pushes Mona far outside her comfort zone.
Source: A24
One of the film’s most hysterical scenes comes early in rehearsal, when Jerry strives to get Mona to deliver the simple line, “Rent’s due,” with some real conviction. A basic acting exercise quickly spirals into something more intense and revealing. Eisenberg finds the film’s rhythm here, expertly blending cringe comedy with raw, emotional honesty. Moments like this showcase Julianne Moore’s extraordinary performance. She is simultaneously outrageously funny and deeply vulnerable, delivering what is arguably her best monologue since Paul Thomas Anderson’s Magnolia (1999). It’s fitting that at one point Mona tells a group of people, “I’m going to shine” in reference to her role in the musical, because Julianne Moore absolutely shines in The Debut.
As Mona becomes more invested in the role, it sets off an unhinged journey of self-discovery and obsession, full of increasingly questionable method acting and artistic choices. The film gradually shifts to a slightly darker tone without ever losing its comedic edge, exploring how creative expression can escalate into something more consuming. Eisenberg’s screenplay brilliantly finds sincerity in the absurdity and compassion in the chaos. It raises the stakes in a way that keeps the story unpredictable, emotionally earnest, and uproarious. The writing, along with Moore’s performance, makes us feel Mona’s desperation. Even when her behavior veers into secondhand embarrassment, it’s easy to understand her motivations.
Source: A24
The aspect of The Debut that impressed me most was how much detail Eisenberg packed into this screenplay. He could have utilized a preexisting stage musical to tell this story. The local theater company could have staged West Side Story, Wicked, or something audiences are already familiar with. Instead, Eisenberg creates a musical entirely from scratch, a fully realized production within the film itself, complete with its own tone, structure, and original songwriting. Every detail, from the songs to the choreography, feels so meticulously constructed that I honestly thought Nosy Neighbors was a legitimate stage production until I saw Eisenberg’s name in the songwriting credits.
Drew Daniels’s cinematography keeps things visually interesting. A film about a stage production could have easily felt too static or kept the camera stagnant, but there’s always a sense of movement and motion. The blocking creates intriguing compositions that reflect the pressure of putting on a show, with people constantly rushing around. Conversely, the warm lighting and pastel color palette lend the film a comforting, almost cozy atmosphere, which helps to balance out the frantic energy. The production design gives The Debut a timeless quality, detached from a specific time period as it feels modern despite a few instances of people using landline phones. Filming at the Brook Art Center in Bound Brook, New Jersey also makes the story feel authentic, capturing that small-town local theater vibe. The cast as well as the setting and cinematography create this feeling of a genuine theater community.
Source: A24
People have joked about the irony of the film’s title being The Debut because this is Eisenberg’s third film in the director’s chair. However, it’s even more ironic that the working title for the film was No One Cares, because it’s evident Jesse Eisenberg cares. There’s a real sense of love and consideration behind every element of the film. From its writing to its performances to the play within the film, everything feels thoughtfully put together. The film strikes a satisfying balance between absurdity and sincerity, between humor and genuine emotion. Julianne Moore and Paul Giamatti deliver spectacular performances in a highly amusing story about identity, performance, and the desperate desire to be seen. The Debut is one of the funniest films of the year, but it’s also deeply human and empathetic. The decision to change the title was a wise one, because plenty of people will care that Eisenberg’s third feature is a witty, endearing, exuberant crowd-pleaser.
The Debut will have its New York premiere at the 64th New York Film Festival on Wednesday, October 7, 2026.
